Ozawa Tsuyoshi “J-ALERT”

gnabmelaP no gnidnecseD spoortaraP esenapaJ Japanese Paratroops Descending on Palembang, 2017, Oil on canvas 2019
145.5 x 227.3 cm (57.3 x 89.4 inch) Photo: Shizune Shiigi

Ozawa Tsuyoshi : J-ALERT

Date: Friday November 8 – Saturday December 21, 2019
Opening Reception:Friday November 8, 18:00-20:00
Hours: Tuesday-Saturday 12:00-19:00 (Closed on Mon, Sun, Public holidays)


Photo by Keizo Kioku


Download Press release (English)
Download Press release (日本語)


MISA SHIN GALLERY is pleased to announce upcoming solo exhibition “Ozawa Tsuyoshi : J-ALERT” from Friday, November 8 to Saturday, December 21, 2019.

“J-ALERT is a nationwide alert system designed to rapidly warn the populace of Japan of incoming ballistic missile attacks, imminent earthquakes, and approaching tsunamis. In contrast, art spreads information at very low transmission speeds. In some cases, an artwork may continue to exist long after the death of the artist, enabling it to continue alerting humanity across multiple generations.”———Ozawa Tsuyoshi

“gnabmelaP no gnidnecseD spoortaraP esenapaJ Japanese Paratroops Descending on Palembang” was inspired by “Japanese Paratroops Descending on Palembang by Goro Tsuruta (1890–1969), a documentary war painting that depicts a successful surprise attack on the Dutch-controlled Palembang oil field (now part of Indonesia) on February 14, 1942 by airborne troops of the Imperial Japanese Army, who dropped from the sky to occupy the oil field. This was a major victory for Japan. News of the assault was widely disseminated, inspiring martial songs and even a movie on the “sacred soldiers from the heavens.”

Noticing that in almost all the war paintings depicting the bravery of Japanese troops, the enemy at the other end of the gun barrel is absent, Ozawa produced paintings partially reproducing “Japanese Paratroops Descending on Palembang with a mirror image alongside. The mirrored gun points back at the shooter, conveying the reality that a gun pointed at others, over time, turns on the person who pointed it. Ozawa presented this series of paintings in “Tsuyoshi Ozawa Imperfection: Parallel Art History”, a solo exhibition at Chiba City Museum of Art in 2018. It is part of his life’s work, tracing with his own hands the story of war painting, the darkest aspect of art since the advent of modern art.

Fascinated by “Photograph of Photograph”, Jiro Takamatsu’s only photographic work, Ozawa borrowed Takamatsu’s method for his “Photographs of Posters” series. Instead of photographing photos, Ozawa re-drew winning posters from a poster competition for children. Like Takamatsu, he then distorted the reproductions of the posters by folding and creasing them before placing them around an elementary school, and asking photographer Shizune Shigi to photograph them.

The posters that Ozawa re-drew were all winners of annual contests aimed at educating the public on the wonders and benefits of nuclear power and sponsored by the Ministry of Education, Culture, Sports, Science and Technology. Through this series he attempted to give form to the reality of the Ministry’s exploitation of art classes to promote propaganda to unsuspecting children in schools, an unsavory aspect of Japanese art education.

Art is expressed in the form of works that can gain additional meanings and interpretations as time goes by. The layers of thought and ideas build up slowly as the art spreads, so a warning presented in the form of art can continue to alert viewers, warning them not to make the same mistake.


Ozawa Tsuyoshi

Born in Tokyo in 1965. Earned master’s degree from the Department of Fine Arts of the Graduate School of Tokyo National University of Fine Arts and Music (majoring in mural painting) in 1991. Ozawa’s notable works include: his “Jizoing” series, in which he photographs statues of homemade Jizo statues situated in different environments; his Nasubi Gallery series of portable micro-galleries made from milk boxes; his “Museum of Soy Sauce Art,” in which he reproduces historical Japanese art masterpieces using soy sauce; and his “Vegetable Weapon” series of photographic portraits of young women holding “weapons” made of vegetables. Selected major solo exhibitions include: “Answer with Yes and No!” at the Mori Art Museum (Tokyo, 2004), “The Invisible Runner Strides On” at the Hiroshima City Museum of Contemporary Art (Hiroshima, 2009), “Tsuyoshi Ozawa : Everyone likes someone, as you like someone” at the Fukushima Prefectural Museum of Art and the Toyota Municipal Museum of Art (Fukushima, Aichi, 2012), “Tsuyoshi Ozawa  Imperfection: Parallel Art History” at the Chiba City Museum of Art (Chiba, 2018). Selected major group exhibitions include: “Saitama Triennale: Envisioning the Future!” (Saitama 2016) and “Yokohama Triennale 2017 : Island, Consetellations & Galapagos“ (Kanagawa 2017) and for Ozawa’s an artistic collaboration “The Xijing Men”, exploring themes related to breaking communication barriers, with Chinese artist Chen Shaoxiong and Korean artist Gimhongsok, “Xijing Is Not Xijing, Therefore Xijing Is Xijing.” at 21st Century Museum of Contemporary Art, Kanazawa. (2016), “Art and China after 1989: Theater of the World” at Solomon R. Guggenheim Museum and Guggenheim Museum Bilbao (New York, Bilbao 2018)


MISA SHIN GALLERYでは2019年11月8日(金)から12月21日(土)まで、小沢剛の個展「小沢剛:Jアラート」を開催します。

「Jアラートとは、弾道ミサイル攻撃や、緊急地震速報、津波警報など有事の際に、住民に迅速に情報を伝達する全国瞬時警報システムである。それに比べ、美術の伝達のスピードというのは、ゆっくりと広がっていくものである。ときには作品が作者の死後も存在をし続けることによって、幾世代にもわたって、人類に警鐘を鳴らし続けることもある。」 小沢 剛

「す下降にンバンレパ兵神神兵パレンバンに降下す」の元になっている《神兵パレンバンに降下す》は、1942年2月14日、オランダに統治されていた現インドネシアのパレンバン油田を、日本帝国陸軍・空挺部隊が、空からの落下傘降下による奇襲作戦で占領、勝利を収めた場面を記録した鶴田吾郎(1890-1969) の戦争画に着想を得て制作されました。この大勝利はおおいに喧伝され、「空の神兵」として軍歌や映画まで制作されました。小沢は日本軍の勇姿を描いたほとんどの戦争画が、銃口を向けている先に敵が描かれていないことに気づきます。小沢は《神兵パレンバンに降下す》を鏡面で模写することにより、銃口が自分自身に向き、他者に向けた銃口は、時間をかけてやがて己に向かってくることを示唆することを試みました。本作品シリーズは、2018年の千葉市美術館の個展で発表され、自身の手を使って戦争画という近代美術以降の最大の闇を辿ることを試みる小沢のライフワークのひとつでもあります。



MISA SHIN GALLERYでは3年ぶりの個展「小沢剛:Jアラート」を、どうぞご高覧ください。


小沢 (おざわ つよし)

1965年東京生まれ。1991年東京藝術大学大学院美術研究科壁画専攻修了。世界各地に自作の地蔵を置き写真におさめた作品「地蔵建立」、牛乳箱を用いてアートを展示する超小型移動式ギャラリー「なすび画廊」、美術史の名画を醤油で模写する「醤油画資料館」、野菜で作られた武器を持つ女性のポートレイトのシリーズ「ベジタブル・ウェポン」などが代表作として知られています。主な個展に2004 年「同時に答えろYes とNo!」( 森美術館)、2009 年「透明ランナーは走りつづける」( 広島市現代美術館)、2012 年「小沢剛: あなたが誰かを好きなように、誰もが誰かを好き」( 福島県立美術館、豊田市美術館), 2018 年「小沢剛 不完全-パラレルな美術史」(千葉市美術館)、 を開催。2016年「さいたまトリエンナーレ 未来の発見!」や2017年「ヨコハマトリエンナーレ2017 島と星座とガラパゴス」などの芸術祭に参加。 また、中国人アーティストのチェン・シャオション、韓国人アーティストのギム・ホンソックとの、さまざまな境界を越えたコミュニケーションをテーマに活動しているアーティスト集団「西京人」での展示では、2016年「西京は西京ではない、ゆえに西京は西京である。」(金沢21 世紀美術館) 、2018年「Art and China after 1989: Theater of the World」(ソロモン R.グッゲンハイム美術館,ニューヨーク),(グッゲンハイム・ビルバオ,スペイン)などに参加している。